Dynamic microphones are generally considered the best choice for public address (PA) systems. They are durable, reliable, and capable of handling high sound pressure levels, making them ideal for live sound environments. Dynamic microphones do not require an external power source, which simplifies setup and reduces potential points of failure. They are less sensitive to ambient noise and feedback, which is crucial in live settings where multiple sound sources and speakers are present. Cardioid dynamic microphones are particularly effective for PA systems because their unidirectional pickup pattern focuses on sound from the front while rejecting noise from the sides and rear. This helps minimize feedback and ensures clear sound reproduction. Models like the Shure SM58 are industry standards due to their robust construction and consistent performance. In some cases, condenser microphones may be used for PA systems, especially when capturing detailed sound is necessary, such as for choirs or acoustic instruments. However, they are more sensitive to feedback and require phantom power, making them less practical for general PA use. Wireless microphones, both dynamic and condenser, offer flexibility and mobility for presenters and performers. They eliminate cable clutter and allow for free movement across the stage or venue. However, they require careful frequency management to avoid interference and ensure reliable operation. Overall, for most public address applications, dynamic microphones, particularly those with a cardioid pattern, provide the best balance of durability, sound quality, and feedback rejection.

1. **Microphone Placement**: Position microphones behind the main speakers to prevent sound from re-entering the mic. Use directional microphones to focus on the sound source and reject ambient noise. 2. **Speaker Placement**: Place speakers in front of the microphones and audience to minimize sound looping back into the mics. Ensure speakers are elevated and angled towards the audience. 3. **Gain Structure**: Properly set the gain structure. Start with the microphone gain low and gradually increase it to avoid excessive amplification. 4. **Equalization**: Use a graphic equalizer to identify and reduce frequencies that cause feedback. Cut problematic frequencies rather than boosting others. 5. **Feedback Suppressors**: Implement automatic feedback suppressors that detect and reduce feedback frequencies in real-time. 6. **Monitor Levels**: Keep stage monitor levels as low as possible. Use in-ear monitors to eliminate the need for loud stage monitors. 7. **Microphone Technique**: Train performers to maintain a consistent distance from the microphone and avoid pointing it towards speakers. 8. **Room Acoustics**: Treat the room acoustically to reduce reflections and standing waves. Use absorptive materials to dampen sound. 9. **Use of Notch Filters**: Apply notch filters to cut specific frequencies that are prone to feedback without affecting the overall sound quality. 10. **Limit Open Microphones**: Only use the number of microphones necessary and mute unused ones to reduce the chance of feedback. 11. **Sound Check**: Conduct thorough sound checks to identify potential feedback issues and adjust settings accordingly before the event. 12. **Regular Maintenance**: Ensure all equipment is in good working condition, as faulty gear can contribute to feedback problems.

Dynamic microphones use a diaphragm attached to a coil of wire, placed within a magnetic field. When sound waves hit the diaphragm, it moves the coil, generating an electrical signal. They are robust, handle high sound pressure levels, and are less sensitive to humidity and temperature changes. This makes them ideal for live performances and PA systems where durability and reliability are crucial. Condenser microphones, on the other hand, use a diaphragm placed close to a backplate, forming a capacitor. Sound waves cause the diaphragm to move, changing the capacitance and producing an electrical signal. They require an external power source, such as phantom power, to operate. Condenser mics are more sensitive and have a wider frequency response, capturing more detail and nuance. This makes them suitable for studio recordings and situations where sound quality is paramount. In summary, dynamic microphones are preferred for live PA use due to their durability and ability to handle high volumes, while condenser microphones are chosen for their sensitivity and sound quality, often used in controlled environments like studios.

1. **Select the Right Microphone**: Choose a microphone suitable for your needs—dynamic mics for general use, condenser mics for clarity, or wireless mics for mobility. 2. **Position the Microphone**: Place the microphone at an appropriate height and distance from the speaker's mouth (6-12 inches) to capture clear sound without distortion. 3. **Connect to Mixer/Amplifier**: Use an XLR cable to connect the microphone to the mixer or amplifier. Ensure the cable is securely plugged into the correct input channel. 4. **Set Gain Levels**: Adjust the gain on the mixer to ensure the microphone signal is strong but not peaking. Start with the gain low and gradually increase it while speaking into the mic. 5. **Equalization (EQ)**: Use the EQ settings on the mixer to adjust the bass, mid, and treble frequencies for clarity and to reduce feedback. 6. **Monitor Feedback**: Position speakers in front of the microphone to avoid feedback loops. Use a feedback eliminator if necessary. 7. **Test Sound Levels**: Conduct a sound check to ensure the volume is appropriate for the venue. Adjust the main output and individual channel levels as needed. 8. **Use Pop Filters/Windscreens**: Attach a pop filter or windscreen to reduce plosive sounds and wind noise. 9. **Secure Cables**: Tape down cables to prevent tripping hazards and ensure connections remain secure. 10. **Monitor During Event**: Continuously monitor sound levels and adjust as needed during the event to maintain audio quality. 11. **Backup Plan**: Have spare batteries, cables, and a backup microphone ready in case of equipment failure.

Shure, Sennheiser, Audio-Technica, AKG, Electro-Voice, Beyerdynamic, Rode, Samson, Behringer, and Peavey.